Marina Carr’s coherent vision for Blood Wedding delivers a production that is unforgiving, creating a portentous world in which notions of love and freedom will always be trampled by the stronger inheritance of history, violence and family legacy
Julie may well be far from a definitive interpretation of Strindberg’s classic, but nonetheless makes for an evening of thought-provoking theatre.
An elegant and occasionally startling adaptation, Julie at the National Theatre is anchored by mesmerising performances from Vanessa Kirby and Thalissa Teixeira.
Sigh. Ok, this is going to hurt because I’m such a supporter of women creatives and want to fight for more opportunities for them but Julie is awful.
Polly Stenham joins the endless line of adaptors and updaters of August Strindberg’s toughly nasty, misogynistic Miss Julie: a play soaked in such fin-de-siecle Nordic hopelessness that it makes Ibsen look like PG Wodehouse.
While Polly Stenham retains plenty of Strindberg’s purpose, Julie doesn’t go quite far enough in remoulding the political and psychological shape of its characters for the 21st century.
Casting has been announced for the new National Theatre season, with highlights include Colin Morgan and Ciarán Hinds in Brian Friel’s Translations.
You go away for a week, hoping they’ll put any exciting news on hold but no, there were headlines aplenty…
Michelle Terry being revealed as Emma Rice’s successor as Artistic Director of the Globe. I think this is a brave and inspired choice, for Terry is a deeply intelligent actor.
In light of Roman Tragedies reminding us of the vast potential of what Shakespeare can be rather than the tendency towards the ‘proper’ readings of his work that we tend to get here in the UK (vast generalisations I know, but can you really argue against it…), it’s gratifying to see directors, and venues, taking the opportunity to stretch those traditional notions.
Powerful new play about a terror attack on London has strong passages, but is a bit too frantically humorous.